Woolworth Building

Woolworth Building

Industry	Real estate, Commercial and residential property
Founded	1910
Founder	F. W. Woolworth
Headquarters	New York City , United States
Products	Office and residential spaces

Woolworth Building Overview

The Woolworth Building stands as a 792-foot-high (241 m) residential skyscraper located at 233 Broadway within the Tribeca area of Lower Manhattan, New York City. Conceived by architect Cass Gilbert, it held the title of the world’s tallest building from 1913 until 1929 and continues to rank among the top 100 tallest structures in the United States as of 2024.

Situated between Broadway and City Hall Park on its eastern side, with Park Place bordering the north and Barclay Street to the south, the building features a 30-story base surmounted by an additional 30-story tower. The exterior is predominantly adorned with architectural terracotta, while the lower sections are faced with limestone. The facade is punctuated by thousands of windows. Inside, the elaborately decorated lobby showcases sculptures, mosaics, and intricate architectural details. Originally, the building included several special features such as a now-defunct observatory on the 57th floor and a private swimming pool located in the basement.

F. W. Woolworth, founder of a chain of popular five-and-dime stores, envisioned this skyscraper as the corporate headquarters for his enterprise. He collaborated with the Irving Trust bank, which also intended to establish its headquarters there. Initially, plans called for a commercial structure between 12 and 16 stories tall; however, multiple design changes were made during development. The final height was confirmed only in January 1911. Construction commenced in 1910 and concluded two years later, with the building officially opening on April 24, 1913.

Over time, the Woolworth Building has experienced various modifications. Its facade underwent cleaning in 1932, followed by a substantial renovation from 1977 to 1981. Although the Irving National Exchange Bank relocated its headquarters to 1 Wall Street in 1931, ownership remained primarily with the Woolworth Company (later known as Venator Group) for much of the twentieth century. In 1998, ownership transferred to the Witkoff Group. The upper 30 floors were sold separately in 2012 and converted into residential units, while the lower floors continue to accommodate office and commercial tenants. Designated a National Historic Landmark since 1966, it also holds status as a New York City designated landmark since 1983.

Architecture

The Woolworth Building was conceived by Cass Gilbert in the neo-Gothic architectural tradition. Its design draws inspiration from European Gothic cathedrals, earning it the nickname "The Cathedral of Commerce," coined by Reverend S. Parkes Cadman in a 1916 publication. The concept for the building originated with F. W. Woolworth, who envisioned it modeled after the Victoria Tower and was also reportedly influenced by the Palace of Westminster. However, Gilbert himself was not fond of likening the structure to religious symbolism. Instead, he incorporated Gothic decorative elements from the 15th and 16th centuries, complemented by a harmonious color palette. Despite its steel skeleton—a feature uncommon in neo-Gothic designs—the facade emphasizes verticality, consistent with other buildings in this style.

File:Woolworth building crown.jpg

The building's crown

Initially planned to rise to 420 feet (130 m), the Woolworth Building's height was ultimately increased to approximately 792 feet (241 m). Various sources have reported differing measurements over time; for instance, an April 1911 permit listed the height as 750 feet (230 m) with 51 floors available for use, while a 1913 issue of Engineering Record cited 782.5 ft (238.5 m) to the top of the flagpole and 55 usable floors. Brochures from 1913 and 1916 recorded heights of 784 ft (239 m) and 792 ft (241 m), respectively, with a 1995 brochure maintaining the 792 ft (241 m) figure and noting 60 stories from the subbasement to the tower. Overall, the building rises about 793.5 feet (241.9 m) above its lowest ground level.

Upon completion in 1913, the Woolworth Building stood 60 stories tall, comprising 53 floors designated for occupancy topped by several mechanical levels. The exact count of usable stories varies depending on whether certain floors—such as the former observation deck on the 55th floor—are included; some sources list 53 usable floors, while others cite up to 55 plus two subterranean levels. Notably, there are no floors numbered 42, 48, or 52 within the structure. Floor-to-ceiling heights range between 11 to 20 feet (3.4 to 6.1 m), effectively making it comparable in height to an 80-story building. It held the title of the world's tallest building until surpassed by New York City's 40 Wall Street and Chrysler Building in 1929–1930. The Woolworth Building is also distinguished by having its own dedicated ZIP Code, 10279; as of 2019, it was among 41 Manhattan buildings assigned unique ZIP Codes.

Form

The tower of the building aligns seamlessly with the main Broadway facade, integrating with a base office block that encloses a narrow inner courtyard to allow natural light. This base extends across the entire plot bordered by Park Place to the north, Broadway on the east side, and Barclay Street to the south. The lot measures approximately 155 feet (47 m) along Broadway and about 200 feet (61 m) along both Park Place and Barclay Street. Two wings project westward from the base—one on Park Place and the other on Barclay Street—forming a rough U-shaped footprint when combined with the Broadway frontage. This configuration guarantees that every office space benefits from external views. The U-shaped base rises roughly 30 stories high. Given that the building fronts all four sides, all elevations of the base are adorned with decorative elements.

Rising above the eastern portion of the base adjacent to Broadway, the tower adds an additional 30 floors. Setbacks are present on both the north and south faces above the 30th floor, with further setbacks appearing on the north, south, and west sides at the 45th and 50th levels. Floors 30 through 45 cover an area of 84 by 86 feet (26 by 26 m), floors 46 through 50 measure 69 by 71 feet (21 by 22 m), and floors 51 through 53 span 69 by 61 feet (21 by 19 m). The tower’s floor plan is square up to the setback at the 50th floor, transitioning into an octagonal shape above this level. Although structurally it reaches 60 stories, only up to the 53rd floor is designated for occupancy. Beyond the 53rd floor, the tower tapers into a pyramidal roof form.

Facade

The building’s lowest four floors are clad in limestone. Above these limestone courses, the exterior is covered with glazed architectural terracotta panels in a limestone shade. F.W. Woolworth originally preferred granite cladding for the skyscraper; however, Gilbert advocated for limestone. The choice to employ terracotta was driven by aesthetic preferences and practical considerations. Terracotta offered fireproof qualities and served as an ornamental element emphasizing the steel framework beneath. Each panel had a slightly varied hue, producing a subtle polychromatic effect. Although appearing uniform in color from afar, upper stories featured darker and denser terracotta panels. Behind these terracotta panels lay brick walls; metal rods and hangers affixed the terracotta pieces securely to these brick surfaces.

The original terracotta cladding was supplied by the Atlantic Terra Cotta Company. These panels were produced in colors including blue, green, sienna, and rose tones. The terracotta was partially vitrified to enhance its load-bearing capacity. Gilbert commissioned John Donnelly and Eliseo V. Ricci to develop full-scale designs inspired by Atlantic Terra Cotta’s models. In 1932, Atlantic Terra Cotta undertook an extensive cleaning operation on the facade to eliminate soot and pollution discoloration accumulated from city air. Between 1977 and 1981, Ehrenkrantz Group undertook restoration work on the facade. During this renovation phase, significant portions of terracotta were replaced with cast stone concrete, and some Gothic ornamental features were removed.

The building contains several thousand windows; estimates vary with sources citing figures such as 2,843, approximately 4,400, or around 5,000 windows. Windows were incorporated primarily for illumination and occupant comfort;</ref> since air conditioning was not yet widespread during construction, every office space is located within 10 of a window. Most windows maintain uniform dimensions per floor level, with each story having consistent height measurements. Several windows are set within arch-shaped openings; many spandrels—the triangular spaces between window tops and arches—feature golden Gothic tracery set against vivid blue backgrounds. On floors 25, 39, and 40, these spandrels display motifs derived from the royal coat of arms of the United Kingdom. Gold-on-blue tracery also appears on floors 26, 27, and 42.

Base

The section of the base facing Broadway, along with the tower above it, is composed of three bays; the left and right bays feature two windows on each floor, whereas the central bay contains three windows. On the elevations along Park Place and Barclay Street, there are six bays, each with two windows per floor. The base’s lowest four stories are segmented into entrance and exit bays that are three stories high, each topped by a single-story attic. There are a total of nine entryways.

The primary Broadway entrance is distinguished by a three-story Tudor arch, bordered on either side by two bays—one narrower than the main arch and the other broader. Together, these five bays create a triumphal arch adorned with a balcony and Gothic-style stone decorations. Within the intrados of this arch lie 23 niches: the uppermost niche features an owl; the lowest niches on both sides show tree trunks; and the remaining twenty niches display animated figures. The spandrel above the left side depicts Mercury, the classical deity of commerce, while the right side shows Ceres, goddess of agriculture. Crowning this arrangement is an ogee arch containing additional niches and two owl sculptures flanking a "W" monogram. Salamanders also occupy niches adjacent to the main entrance. Inside this triumphal arch is a smaller arch containing a revolving door and a Tudor window, flanked by standard doors and surrounded by ornamental detailing. Above this smaller arch is a pelican carving.

At both the northern and southern entrances—located on Park Place and Barclay Street respectively—decorated revolving doors are installed. These entrances are nearly identical aside from differences in storefront layouts. Positioned on the eastern sides of their respective facades, aligning with the tower above, each features a broad arch flanked by two narrower arches. All three entrances provide access to the arcaded lobby within. The Park Place entrance also includes a stairway leading to the New York City Subway's Park Place station, served by the Template:NYCS trains, situated inside the westernmost bay of this entry.

The facade incorporates vertical piers that extend outward diagonally; six such piers appear on the Broadway elevation. Additionally, horizontal belt courses run continuously above the 4th, 9th, 14th, 19th, and 24th floors. Between the 25th and 26th stories—above the highest belt course—dark-bronze spandrels separate these levels. The 27th floor features a canopy composed of projecting terracotta ogee arches. These ornamental elements contribute to an effect described by architectural critic Donald Reynolds as causing the tower to "appear to merge with the atmosphere." Surmounting the canopies above the 28th floor is a two-story copper roof adorned with intricate Gothic tracery. The north and south wings’ 29th and 30th floors possess similar depth to the six narrow bays found on Park Place and Barclay Street but include five bays instead. These wings are capped by a small tower containing three bays.

Tower section

Between the 30th and 45th floors, each side of the building features three bays; the outer bays include two windows each, while the central bay holds three windows. From the 46th to the 53rd floors, the arrangement remains three bays per side, but the side bays are reduced to a single window each. At the setbacks on the 45th and 50th floors, turrets are positioned at every corner of the tower. Notably, the turret on the northeast corner concealed a smokestack.

Above the 53rd floor rises a pyramidal roof, accompanied by four decorative tourelles at each tower corner. Originally finished with gilt, this roof now displays a green hue. The application of gold leaf covered approximately 40,000 square feet across both the pyramidal roof and the smaller roofs beneath it. Scattered throughout the main roof are small dormers that house windows providing light to maintenance areas inside. Crowning the pyramidal roof is an additional pyramid featuring an octagonal base and tall pointed-arch windows, which is itself topped by a spire. Together, these three pyramid layers reach about 62 feet in height, equivalent to roughly five stories.

An observation deck was situated on the 55th floor, approximately 730 feet above street level. This octagonal platform measured 65 feet across and was accessible via a glass-enclosed elevator. It attracted around 300,000 visitors annually until its closure in 1941 as a security precaution following the attack on Pearl Harbor.

The building's vertical emphasis is accentuated by pronounced piers that extend uninterrupted to the pyramidal roof without intermediate cornices, embodying an upward momentum. This design reflects Aus's engineering philosophy that true beauty in construction emerges when structural forces are visibly expressed. The copper roof is electrically grounded through its connection to the steel superstructure of the Woolworth Building. The Gothic ornamentation concentrated at the highly visible crown is deliberately oversized, enabling the building’s silhouette to be discernible from several miles away. Gilbert selected the Gothic style as a means to express verticality; he described it as "light, graceful, delicate and flame-like." Among various exterior lighting proposals—such as powerful searchlights on adjacent buildings and a rotating lamp atop the roof—the final decision implemented nitrogen lamps and reflectors positioned above the 31st floor, with lighting intensity increasing progressively toward the top.

Substructure

Unlike many other Manhattan locations, the bedrock beneath this site lies relatively deep, averaging between 110 and 115 feet (34 and 35 m) below ground level. The area also features a high water table, positioned as close as 15 feet (4.6 m) from the surface. Due to these geological conditions, the building rests upon either 66 or 69 substantial caissons that extend down to the bedrock. These caissons vary in depth, ranging from 100 to 120 feet (30 to 37 m).

To establish a solid foundation, the construction team utilized metal tubes approximately 19 feet (5.8 m) in diameter, which were filled with concrete. These tubes were installed using a pneumatic caisson technique to anchor the foundation securely into the bedrock. Because the bedrock slope was steep, it was necessary to carve steps into the rock before sinking the caissons. Both round and rectangular caissons were employed, with rectangular ones primarily positioned along the southern and western boundaries of the lot. The distribution of caissons across the site is uneven, with a higher concentration in the northeastern corner. This pattern resulted from an initial plan to build on a smaller plot at Broadway and Park Place; when the site expanded, previously installed caissons remained in place. The two basement levels, which extend down approximately 55 feet (17 m), are constructed using reinforced concrete.

Superstructure

In contrast to earlier constructions that relied on load-bearing walls requiring considerable thickness, the Woolworth Building's steel superstructure is comparatively slender, allowing architect Gilbert to maximize usable interior space. The steel framework was engineered by Gunvald Aus and Kort Berle. Each column supports a load of about 24 short tons per square foot (2.3 MPa), bearing the building's total weight of approximately 233,000 short tons (208,000 long tons). Where columns did not align directly above caissons, they were cantilevered using plate girders spanning between adjacent caissons. These girders are notably large; for example, one measures 8 feet (2.4 m) in depth, 6.75 feet (2 m) in width, and 23 feet (7.0 m) in length.

The entire structure was treated as a vertical cantilever for wind bracing purposes, necessitating robust girders and columns throughout. Continuous portal bracing was implemented between floors 1 and 28, except for interior columns which utilized triangular bracing instead. The portal braces on exterior walls redirect lateral wind forces downward toward the ground rather than channeling them into the building itself. Interconnecting trusses placed every five floors link the tower to its wings; these trusses along with side and court walls provide lateral support for the wings. Above each tower setback, girders support outer walls due to offset columns beneath them. From floor 29 upward, knee braces and column-girder connections were employed; hollow-tile floors were installed instead of concrete slabs because setting concrete would have been too time-consuming, particularly during cold weather conditions.

Interior

Photograph showing part of the lobby with an ornate ceiling and a staircase in the background

Section of the lobby

When finished, the Woolworth Building featured seven distinct water systems serving different functions: one each for the power generation plant, the hot water facility, the fire safety network, shared restrooms, office restrooms, the swimming pool in the basement, and the basement restaurant. Water storage tanks were installed on the 14th, 27th, 28th, 50th, and 53rd floors. Although water was supplied through the New York City water supply system, a significant portion underwent filtration and was recycled. An independent water system separate from the municipal supply was initially planned during construction; however, this idea was abandoned after excavation efforts reached approximately 1,500 feet (460 m) into Manhattan bedrock without success.

The Woolworth Building pioneered by having its own dedicated power plant equipped with four Corliss steam engine generators that collectively provided 1,500 kilowatt-hours (5.4×10¹² mJ) of electrical capacity, sufficient to support up to 50,000 occupants. Additionally, a heating plant was installed with six boilers capable of generating 2,500 horsepower (1,900 kW). These boilers were supplied from underground coal storage bunkers holding over 2,000 tons of anthracite coal.

Lobby

The elaborately decorated cruciform lobby—referred to as the "arcade"—was described by the New York City Landmarks Preservation Commission (LPC) as "among the most remarkable early 20th-century interiors in New York City." It consists of two intersecting double-height corridors capped with barrel-vaulted ceilings. One corridor extends from the arcade's western wing at the "staircase hall" to its eastern wing facing Broadway. The other corridor stretches between the northern wing along Park Place and the southern wing on Barclay Street. A mezzanine level spans across the north and south wings of the arcade. At their junction stands a domed ceiling. The dome’s pendentives are thought to draw inspiration from those found in the Mausoleum of Galla Placidia. The vault walls at this intersection form an octagonal shape featuring mailboxes positioned at each of the four intercardinal points.

Photograph detailing one of the lobby's grotesques

Grotesque detail in lobby

The lobby is adorned with veined marble sourced from Skyros Island in Greece. Lighting fixtures for both lobby and hallways were supplied by Edward F. Caldwell & Co.. The ceilings feature patterned glass mosaics incorporating blue, green, gold tones with touches of red. Gothic motifs are present throughout the space including on cornices and bronze hardware. At points where the arcade intersects with the mezzanine are twelve plaster brackets supporting grotesques representing key figures involved in constructing the building. These sculptures depict individuals such as Gilbert holding a model of the building, Aus measuring a girder, and Woolworth clutching nickels and dimes. Two ceiling murals by C. Paul Jennewein, entitled Labor and Commerce, are installed above the mezzanine crossing over the south and north wings respectively.

To the west of the arcade lies a two-story staircase hall comprising a ground floor that once housed storefronts and an upper mezzanine level. Originally, eighteen retail spaces occupied this ground floor. A mid-15 feet (4.6 m) wide marble staircase extends westward from the arcade leading to a mezzanine where access to what was formerly the Irving National Exchange Bank office was located. The mezzanine includes a stained-glass skylight encircled by names of various nations. This skylight bears dates marking both 1879—the founding year of Woolworth Company—and 1913—the year when this building opened. Surrounding this skylight are sculpted grotesques illustrating merchandising scenes related to five-and-dime trade. The leaded glass work for both this mezzanine ceiling and the lobby’s barrel vault was crafted by Heinigke and Brown.

Adjacent westward from the staircase hall is a smaller chamber with a ceiling height equivalent to one story. This room features a coffered ceiling painted in blue-green hues. Its crossbeams display Roman portrait heads while its cornice is embellished with generic sculpted grotesques. Additionally, within the lobby is a set of German chimes created by Harry Yerkes.

Basement

Within the Woolworth Building's basement lies an unused bank vault, alongside a former restaurant and barbershop. Originally, the vault was designed to house safe-deposit boxes, but in practice, it was utilized by the Irving National Exchange Bank. In 1931, Irving transferred approximately $3 billion in deposits to a vault located in its new headquarters at 1 Wall Street, after which the Woolworth Building’s vault was repurposed as a storage space for maintenance personnel. Additionally, there is a basement storage area known as the "bone yard," which stores replacement terracotta elements for the building’s exterior.

The basement also features sealed-off entrances to two New York City Subway stations. One entrance, adjacent to the building’s northern facade, provided access to the Park Place station served by the Template:NYCS trains line; this entrance was closed following the September 11 attacks in 2001. Another entrance led to the City Hall station one block to the north, now served by the Template:NYCS trains line, but it was shuttered in 1982 due to safety concerns related to crime. By the 2010s, the area in front of these former entrances was repurposed for bicycle storage.

A private swimming pool, initially intended for F. W. Woolworth himself, is also located in the basement. Proposed as early as 1910, this pool measured approximately 15 by 55 feet (4.6 by 16.8 m) and featured a marble border. The pool was eventually drained but underwent restoration during the mid-2010s amid renovations converting the Woolworth Building’s upper floors into residential units.

Offices

When originally built, the Woolworth Building housed more than 2,000 individual offices. Each office featured ceiling heights ranging between 11 to 20 feet (3.4 to 6.1 m). The interior layout, crafted by Gilbert, was intended to optimize the amount of usable office area while minimizing space consumed by elevator shafts. This design strategy influenced the positioning of columns in the building's wings, as the main tower's columns were arranged around elevator shafts and facade piers. For the first 30 floors, each level contained 31 offices: ten overlooking the light court, eight facing Park Place, another eight facing Barclay Street, and five oriented toward Broadway. Above the setback on the 30th floor, each floor accommodated 14 offices. Notably, floor numbers 42, 48, and 52 were omitted for reasons that remain unclear.

The 24th-floor private office of Woolworth remains preserved in its original state, adorned with green marble revetment in the French Empire style. This office featured a mahogany desk with a leather surface measuring approximately 7.5 by 3.75 feet (2.29 by 1.14 m), which concealed a control panel with four buttons to summon various staff members. Marble columns within the office are topped with gilded Corinthian capitals. Woolworth’s reception area was decorated with items inspired by his visit to the Château de Compiègne shortly after the building’s completion; these included a bronze bust of Napoleon, French Empire-style lamps embellished with gold figures, and an inkwell depicting Napoleon on horseback. Portraits of Napoleon adorned the walls, while gold-and-scarlet chairs were arranged throughout the room. At some point, Woolworth replaced Napoleon’s portrait with one of himself.

Elevators

Photograph showing an ornately detailed elevator door

Detail of elevators

The Woolworth Building is equipped with a high-speed elevator system capable of reaching speeds up to 650 feet (200 m) or approximately 700 feet (210 m) per minute. These elevators were provided by the Otis Elevator Company and included express cars that traveled nonstop between designated floors alongside local elevators that stopped at every floor within specific ranges. Upon completion of construction, there were 26 Otis electric elevators featuring gearless traction mechanisms, as well as an electric-drum shuttle elevator located inside the tower. Of these, 24 served passengers and were arranged around cruciform-shaped elevator lobbies on each floor. Additionally, two freight elevators and two emergency stairwells were positioned at the rear section of the building.

Access to the elevators is from bays situated on both the eastern and western arcade walls. Each wall is segmented into two bays framed by round arches, accommodating four elevators per side. The lobby’s elevator doors were crafted by Tiffany Studios and display intricate arabesque tracery patterns etched into steel set against a gold-plated background.

Planning

F. W. Woolworth, an entrepreneur who emigrated to the United States in 1886, achieved success through his chain of Five-and-Dime stores, offering items priced at five and ten cents. In 1910, he initiated plans to establish a new headquarters for the F. W. Woolworth Company. Concurrently, Woolworth’s associate, Lewis Pierson, was encountering obstacles in securing shareholder consent for merging his Irving National Bank with the competing New York Exchange Bank. During a luncheon conversation, Woolworth, seeking financial backing, disclosed his intentions for the new building to Pierson. He proposed purchasing shares in the New York Exchange Bank and casting votes to support the merger on the condition that the consolidated banks would relocate their headquarters to Woolworth’s forthcoming building.

After obtaining a commitment from the banks involved, Woolworth procured a property situated at the intersection of Broadway and Park Place in Lower Manhattan, directly across from City Hall. He had briefly contemplated acquiring land at West Broadway and Reade Street a few blocks north but ultimately rejected this option due to the greater prestige associated with a Broadway address; it is notable that West Broadway is distinct from Broadway despite its name.

Subsequently, Woolworth and the Irving National Exchange Bank formed the Broadway–Park Place Company to oversee the financing and construction of the planned edifice. The initial arrangement envisioned the bank gradually purchasing shares of this company until it fully owned both the entity and thus the Woolworth Building itself. Under a 25-year lease agreement, Irving National Exchange Bank would manage 18 floors of the building. Additionally, Irving would have control over two seats on the Broadway–Park Place Company’s board, while Woolworth retained three seats and served as president of that corporation. While these negotiations were underway, Woolworth and his real estate agent Edward J. Hogan acquired multiple parcels from Trenor Luther Park’s estate as well as other landowners. By April 15, 1910, they had secured ownership of the entire rectangular site where the building now stands, paying a total of $1.65 million—equivalent to approximately $Template:Format price in today’s dollars.

Original designs

Photographs of steel girders as the Woolworth Building is built

The Woolworth Building during its construction on June 22, 1912

The commission for the new building was awarded by Woolworth to Cass Gilbert. Early records of communication between Woolworth and Gilbert are scarce, and as late as March 1910, press reports indicated no architect had been selected yet. Gilbert later recounted that he received the commission following a phone call from Woolworth. Prior to this project, Gilbert had completed designs for the nearby Broadway–Chambers Building and 90 West Street, structures whose style Woolworth admired. Woolworth desired his new edifice to echo the Gothic style reminiscent of London's Palace of Westminster. At that period, Gilbert was renowned for integrating historic architectural motifs into modern skyscraper designs.

Initially, Gilbert was engaged to create a conventional commercial building ranging from 12 to 16 stories, with Woolworth expressing no intention to build a monument for posterity. By 1910, plans had expanded to include a 20-story base with an additional 10 stories above. Woolworth aimed to outdo the nearby New York World Building, which stood across City Hall Park at 20 stories and 350 feet (110 m) tall. A design dated April 22, 1910, by Thomas R. Johnson depicted a 30-story tower on the site. This revision prompted restructuring within the Broadway-Park Place Company. Woolworth was set to be the primary investor, contributing $1 million, while a bank pledged $500,000. The Irving Bank agreed to lease the ground floor, fourth floor, and basement for 25 years.

By September 1910, Gilbert's design had grown to feature a 40-story tower on Park Place alongside a shorter 25-story annex, resulting in a building approximately 550 feet (170 m) tall. The following month, the proposal evolved into a 45-story structure comparable in height to the nearby Singer Building. This plan presented a neo-Gothic design with a base of 26 stories topped by a square tower rising an additional 19 stories. In November 1910, after reviewing this latest design, Woolworth requested that the building height be increased to 620 feet (190 m), surpassing the Singer Building by 8 feet (2.4 m). His inspiration stemmed from European travels where he was often questioned about the Singer Building; he believed that erecting an even taller headquarters would serve as powerful advertising for his company worldwide. The finalized design revealed publicly that month featured a 45-story tower reaching 625 feet (191 m), situated on a lot measuring approximately 105 by 197 feet (32 by 60 m). Regarding these updated plans, Woolworth stated, "I do not want a mere building. I want something that will be an ornament to the city." He later expressed his desire for visitors to boast about having seen the tallest building in the world. Louis J. Horowitz, president of the principal contractor Thompson-Starrett Company, remarked on Woolworth's personality: "Without question his ego was extraordinarily large; anyone who ignored this when considering his motivation for such a tall building would misunderstand his true intentions."

Ambitions for the tallest skyscraper worldwide

Despite the announcement of the adjusted height, Woolworth remained eager to increase the building's stature further, as it was nearing the approximately 700-foot elevation of the Metropolitan Life Insurance Company Tower, which at that time held the title of the tallest structure in New York City and globally. On December 20, 1910, Woolworth dispatched a group of surveyors to precisely measure the height of the Metropolitan Life Tower with the intention of surpassing it by 50 feet. Subsequently, he instructed Gilbert to modify the design to achieve a height between 710 and 712 feet, even though there were ongoing concerns regarding whether the additional elevation justified the extra expense. To accommodate a broader base required by the taller tower, Woolworth acquired the remaining frontage along Broadway between Park Place and Barclay Street. Additionally, he purchased two adjacent lots to the west—one on Park Place and another on Barclay Street—intending to leave these parcels undeveloped with their low-rise buildings intact to preserve unobstructed views for the proposed tower. A building of such magnitude was projected to generate the highest revenue of any edifice worldwide.

By January 1, 1911, reports in The New York Times indicated Woolworth's plan for a 625-foot skyscraper with an estimated cost of $5 million. That same month, Woolworth and Hogan finalized acquisition of the last parcel needed for construction. The entire site had cost approximately $4.5 million (equivalent to a significantly larger sum today when adjusted for inflation) and measured roughly 152 feet along Broadway, 192.5 feet on Barclay Street, and nearly 198 feet on Park Place. Two days later, Woolworth publicly declared that his building would reach a pinnacle height of 750 feet. These blueprints featured a base rising 30 stories topped by a 25-story square tower. The stated height of 750 feet was considered Woolworth's minimum acceptable limit; however, Gilbert increased it to approximately 792 feet to ensure harmonious architectural proportions. Official renderings by illustrator Hughson Hawley completed in April 1911 first depicted this finalized height.

Gilbert faced the challenge of balancing strict design demands from both Woolworth and Pierson. His notes reveal late-night discussions with each man during this process. The existing lobby design, which includes an arcade, embodies these competing influences. Practical difficulties also arose—for instance, Woolworth insisted on numerous divided windows so that all offices would receive ample natural light and tenants could install partitions as needed; Gilbert noted this requirement "naturally prevented any broad wall space." Woolworth meticulously reviewed every one of Gilbert’s many drawings. Although disagreements occasionally emerged between Woolworth and Gilbert over frequent design revisions and architectural fees, Gilbert praised Woolworth’s dedication to detail and his passion for creating an aesthetically remarkable building. The immense scale of this project profoundly affected Gilbert’s perception of proportion for several years afterward, as he grappled with matching intricate detailing to unprecedented vertical dimensions.

Construction

Black-and-white photograph of the Woolworth Building's ironwork being erected, taken in April 1912

Photograph showing the Woolworth Building during its construction phase in April 1912

In September 1910, demolition crews cleared the site by tearing down the existing five- and six-story buildings. Official construction commenced on November 4, 1910, when the Foundation Company began excavation under a contract personally arranged by Frank Woolworth. The initiation of building work immediately increased the land’s value from $2.25 million to $3.2 million. The foundation contract, valued at over $1 million, was considered the largest ever awarded globally for foundation work. Selecting a general contractor took several months; although George A. Fuller’s Fuller Company had extensive experience and was a pioneer in skyscraper construction, Louis Horowitz’s Thompson-Starrett Company was based locally in New York. Despite being relatively new, Horowitz had previously worked for Fuller and possessed comparable expertise. On April 20, 1911, Thompson-Starrett secured the contract with a guaranteed price of $4,308,500 to erect the building’s frame and structural components. Although Woolworth attempted to persuade the company to manage the project without charge due to its prestige, they were compensated $300,000 for their supervision and management efforts.

Even before construction began, prospective tenants started applying for space in May 1911. On June 12, 1911, Atlantic Terra Cotta Company was awarded a $250,000 contract to produce terracotta elements. The following month, Donnelly and Ricci received an $11,500 contract covering terracotta installation and some interior design tasks. Architect Gilbert requested that Atlantic Terra Cotta establish an office adjacent to his own while developing hundreds of design drawings. The construction effort involved hundreds of laborers earning daily wages from $1.50 (for general laborers) to $4.50 (for skilled tradesmen). By August 1911, foundation work was completed ahead of schedule (target date: September 15), and steel framing began on August 15. Due to the immense weight of steel beams and girders used in the framework, surveyors examined the streets along transport routes to prevent collapse. Steel was supplied by the American Bridge Company from foundries in Philadelphia and Pittsburgh; production required over 45 weeks.

Photograph of the Woolworth Building topped out

The Woolworth Building after topping out on July 1, 1912

By October 1911, erection of the first above-ground steel sections had been completed, with terracotta installation commencing February 1, 1912. The structure advanced at a pace of approximately one and a half floors per week; steelworkers set a record by assembling 1,153 tons of steel over six consecutive eight-hour shifts. By February 18, 1912, framing had reached the eighteenth floor. On April 6, steelwork extended to the thirtieth floor—the top of the base—after which construction focused on the tower portion. By May 30, steel framing had reached the forty-seventh floor. The official topping out ceremony occurred two weeks early on July 1, when the final rivet was driven at the tower's summit. Initially, Gilbert estimated the building’s height at approximately 787 feet after topping out; however, Woolworth’s engineers measured it at 792 feet. Substantial completion was achieved by late 1912. The ultimate construction cost totaled $13.5 million (equivalent to Template:Inflation), significantly exceeding initial estimates of $5 million for earlier shorter designs (equivalent to Template:Inflation). The budget breakdown allocated $5 million for land acquisition, $1 million for foundations, and $7 million toward structural construction. Woolworth contributed $5 million personally; investors provided remaining funds with financing finalized by August 1911.

Opening and 1910s

The Woolworth Building officially opened its doors on April 24, 1913. To commemorate the occasion, a lavish banquet was held on the 27th floor, attended by more than 900 guests. At precisely 7:30 p.m. EST, President Woodrow Wilson activated a switch remotely from Washington, D.C., illuminating the entire structure. Among the distinguished attendees were Francis Hopkinson Smith, who acted as toastmaster; author William Winter; businessmen Patrick Francis Murphy and Charles M. Schwab; Rhode Island Governor Aram J. Pothier; Judge Thomas C. T. Crain; U.S. Senator Joseph Taylor Robinson of Arkansas; Ecuadorian minister Gonzalo Córdova; New York Supreme Court Justices Charles L. Guy and Edward Everett McCall; New York State Commissioner of Education John Huston Finley; Collector of the Port William Loeb Jr.; naval architect Lewis Nixon; Rear Admiral Charles Dwight Sigsbee; New York City's Commissioner of Docks and Ferries R. A. C. Smith; Colonel William Conant Church; Congressman Herman A. Metz from New York; Police Commissioner Rhinelander Waldo; banker James Speyer; former Lieutenant Governor Timothy L. Woodruff; writer Robert Sterling Yard; Admiral Albert Gleaves; and reportedly between 69 and 80 members of Congress who arrived via a special train from Washington, D.C. Additional messages of congratulations were received from former President William Howard Taft, New Jersey Governor James Fairman Fielder, and Secretary of the Navy Josephus Daniels.

The building was declared ready for occupancy on May 1, 1913, with Woolworth offering office space at a starting rate of $4 per square foot, which adjusts to a substantially higher value in today’s dollars. To entice prospective tenants, Woolworth commissioned architecture critic Montgomery Schuyler to produce a detailed 56-page brochure highlighting the building’s amenities and design features. Schuyler later praised the Woolworth Building as the "noblest offspring" among steel-framed skyscrapers.

Upon completion, this skyscraper surpassed the Metropolitan Life Insurance Company Tower to become the tallest building worldwide—a title it maintained until 1929. By May 1914, Woolworth had acquired all shares of the Broadway-Park Place Company from Irving National Exchange Bank; however, his corporation did not hold any ownership interest in the building itself. The bank's involvement was limited to tenancy, leasing the entire second floor for $100,000 annually. The edifice provided office space accommodating up to 14,000 workers. By late 1914, occupancy had reached approximately 70%, generating annual rental income exceeding $1.3 million for the F.W. Woolworth Company.

1920s to 1960s

Photograph of the Woolworth Building and those surrounding it

Woolworth Building c.1913

Throughout World War I, energy use in the Woolworth Building was drastically reduced, with only a single elevator operating out of the original fourteen and many corridor and office lights turned off. This led to an approximate 70% decrease in power consumption compared to normal periods. By the 1920s, the building housed over a thousand tenants, typically occupying one- or two-room suites. Collectively, these occupants employed more than 12,000 individuals within the structure. After the death of F. W. Woolworth in 1920, his descendants secured a $3 million mortgage loan from Prudential Life Insurance Company on the building to cover $8 million in estate taxes. At that time, the building's estimated value was $10 million with annual rental revenues of $1.55 million. In January 1924, the Broadway-Park Place Corporation agreed to transfer ownership of the property to Woolco Realty Co., a subsidiary of F. W. Woolworth Company, at an assessed value of $11.25 million (equivalent to about $Template:Format price in Template:Inflation/year). The transaction involved $4 million in cash plus an $11 million five-year mortgage at a fixed interest rate of 5.5%, provided by Prudential Life Insurance Company. The sale was completed in April of that year, ending the Woolworth heirs' ownership stake.

In the year 1927, the apex of the building was coated in green paint and its observation tower received new gold leafing at an expense exceeding $25,000 (approximately $Template:Format price in Template:Inflation/year). The Atlantic Terra Cotta Company undertook cleaning work on the building’s exterior in 1932. In 1939, Prudential extended its mortgage lien on the property by another decade for $3.7 million, while following the attack on Pearl Harbor in late 1941, access to the observation deck was suspended. Due to coal shortages in early 1944, ten out of twenty-four elevators were temporarily deactivated. The subsequent year saw elevator replacements and closure of floors above the fifty-fourth story.

By the year 1953, a chilled water air conditioning system had been installed that allowed temperature control within individual rooms across one-third of the structure. The outdated car-switch-controlled elevators were replaced with modern automatic dispatch systems along with new elevator cars. Although no longer among the tallest—ranking sixth—and having lost its appeal as a tourist destination by then, the building remained financially viable. Its terracotta facade proved vulnerable to deterioration and by the early sixties repairs were ongoing throughout each year. Considerations for selling the property emerged during this period but no sale materialized.

Restoration and landmark status

In 1966, the National Park Service officially recognized the Woolworth Building as a National Historic Landmark. The New York City Landmarks Preservation Commission (LPC) reviewed the possibility of granting the Woolworth Building city-landmark status in 1970. However, the F. W. Woolworth Company opposed this designation, describing the landmark regulations as "onerous" due to the restrictions they would impose on altering various parts of the structure. Consequently, the LPC decided against conferring official city-landmark status at that time, partly influenced by the company's resistance and concerns over increased expenses and regulatory oversight. In 1974, efforts were made to clean the building's lobby.

An evaluation of the building’s exterior was commissioned by the F. W. Woolworth Company in 1975, revealing significant deterioration in its terracotta cladding. The terracotta blocks had suffered loosening and cracking caused by repeated thermal expansion and contraction from New York’s climate conditions. These cracks allowed water infiltration, which led to corrosion of the steel framework beneath. By 1976, metal netting was installed around the facade to prevent falling terracotta fragments from endangering pedestrians. The facade’s condition was further complicated by a scarcity of terracotta manufacturers, making replacement materials difficult to source. To support renovation efforts, New York City's Industrial and Commercial Incentives Board approved an $8.5 million tax abatement in September 1977. At that time, the Woolworth Company still occupied approximately half of the building; its vice president for construction expressed confidence in investing in the property, partly due to F. W. Woolworth’s personal financial contribution to its original construction. The remaining space was largely leased by attorneys paying between $7 and $12 per square foot.

Starting in 1977, a comprehensive five-year restoration project began to address both the terracotta and limestone facade and to replace all windows. Initially, there was consideration of substituting the entire terracotta exterior with concrete; however, this plan was abandoned because of prohibitive costs and anticipated opposition from preservationists. The renovation was executed by Turner Construction following designs from Ehrenkrantz Group, a New York architectural firm. Approximately one-fifth of the terracotta was replaced during this process. Due to the limited number of terracotta producers remaining, about 26,000 tiles were substituted with custom-cut concrete replicas designed to resemble terracotta. These concrete surfaces were treated with coatings intended for renewal every five years, mirroring maintenance practices for glazed terracotta blocks. Original copper window frames were replaced with aluminum ones that could be opened, unlike their sealed predecessors. Additionally, some ornamental flying buttresses near the tower’s crown were removed, and four tourelles were re-clad in aluminum because of damage.

The renovation concluded quietly in 1982, with project costs escalating from an initial estimate of $8 million to over $22 million. Much of this restoration was financed through an increased city tax incentive totaling $11.4 million. Shortly after completion, in early 1982, the LPC revisited the idea of designating the Woolworth Building as a landmark once again. However, at the request of the building’s legal representatives, a public hearing on this proposal was postponed until April 1982. That same year saw the closure of the building’s entrance to the City Hall subway station due to concerns about crime. In April 1983, landmark status was officially granted by the LPC for both the building’s exterior facade and its lobby interior.

The Woolworth Company—later renamed Venator Group—retained ownership for approximately fifteen more years. After enduring financial challenges and no longer requiring a prestigious office location, Venator began exploring options to sell the property in 1996. To generate capital for other business ventures, Venator formally placed the Woolworth Building on the market in April 1998.

Sale and initial plan

Photograph of the Woolworth Building in 1985 with several sky scrapers, including the towers of the former World Trade Center in the background

The Woolworth Building in 1985, right, the former World Trade Center in the background

In June 1998, the Venator Group reached an agreement to sell the property to Steve Witkoff's Witkoff Group alongside Lehman Brothers for $155 million (equivalent to approximately $Template:Format price in Template:Inflation/year). Prior to the completion of the transaction in December 1998, Witkoff successfully renegotiated the purchase price down to $137.5 million (around $Template:Format price in Template:Inflation/year), attributing the reduction to a weakening debt market. Venator significantly reduced its occupied area within the building from eight floors to four, contrasting sharply with the 25 floors it had utilized before the sale. Additionally, Witkoff consented to license the Woolworth name and committed $30 million towards refurbishing both the building’s exterior and interior. Following acquisition, the Witkoff Group rebranded the property aiming to attract tenants from entertainment and technology sectors. By April 2000, Venator Group officially relocated their headquarters to 112 West 34th Street, while Witkoff announced intentions to convert the upper portion of the tower into residential condominium units. Later that year in October, a proposal was submitted for a two-story addition atop the 29th-floor setbacks on both north and south facades, designed by Skidmore, Owings & Merrill, who were also managing the building’s renovation. However, this request was rejected by the LPC.

In November 2000, an ambitious redevelopment plan was revealed which involved transforming the top 27 floors into 75 condominium residences, featuring a five-story penthouse. The proposal included establishing a new residential lobby on Park Place, a garage accommodating 100 vehicles, an underground screening room seating 75 people, and a basement spa. The developers anticipated investing between $60 and $70 million for this conversion with an expected completion date by August 2002. The LPC opposed this plan due to necessary exterior alterations to the roofline. Eventually, a revised plan received approval. However, following the September 11 attacks and the subsequent destruction of the nearby World Trade Center, uncertainty surrounded this project’s future, leading to its eventual cancellation.

Heightened security measures and new development strategy

Before the events of September 11, the Woolworth Building was frequently captured in photographs framed between the twin towers of the World Trade Center. Following the attacks, which occurred just a few blocks away, the Woolworth Building experienced a temporary loss of electricity, water, and telephone services; its windows were shattered, and debris damaged one of its upper turrets. In the aftermath, enhanced security protocols significantly limited public entry to much of the intricately designed lobby, which had previously been a popular destination for visitors. In 2006, The New York Times journalist David W. Dunlap recounted that he was asked to exit the building within twelve seconds of stepping inside by a security officer. Nevertheless, interest in reopening public access to the Woolworth Building's interior revived during preparations for its 100th anniversary. By 2014, the lobby was once again accessible through guided tours lasting between 30 and 90 minutes. These tours resulted from a collaboration between Helen Post Curry, great-granddaughter of architect Cass Gilbert, and Roy A. Suskin, vice president for development at Witkoff.

In June 2003, financing totaling $201 million was arranged by Credit Suisse First Boston for the property, divided into a $125.4 million senior loan, a $49.6 million junior interest, and a $26 million mezzanine loan. Subsequently, in April 2005, Bank of America extended a $250 million interest-only commercial mortgage-backed security loan secured by the office segment of the building. At that time, occupancy stood at 96%, with an appraisal value of $320 million and annual net operating income approaching $18 million.

By 2007, neglect had caused deterioration of the Woolworth Building’s concrete facade blocks; absence of routine resurfacing led to water and dirt penetration that stained these elements. Although terracotta had regained popularity since the 1970s, Suskin refrained from confirming whether any alterations to the exterior would be undertaken. Concurrently, Witkoff intended to collaborate with Rubin Schron to establish an exclusive "office club" on the uppermost 25 floors aimed at attracting upscale tenants such as hedge funds and private equity firms. This initiative included plans to restore the 58th-floor observatory as a private amenity for club members along with features like a private dining area, conference rooms, and a dedicated lobby entrance. The project targeted completion by late 2008; however, the onset of the 2008 financial crisis halted progress, leaving these upper floors stripped and unoccupied.

Partial residential conversion and sale

On July 31, 2012, the upper 30 floors of the skyscraper were acquired for $68 million by an investment consortium led by New York-based developer Alchemy Properties, which included Adam Neumann and Joel Schreiber. The purchase was made from the Witkoff Group and Cammeby's International (equivalent to approximately $Template:Format price in Template:Inflation/year). The group intended to convert this space into 33 upscale apartments while transforming the penthouse into a five-story residence. Meanwhile, the lower 28 floors remained under the ownership of Witkoff Group and Cammeby's International, who planned to retain them as office spaces. The overall project was projected to cost around $150 million, inclusive of the acquisition price. In October 2013, the Landmarks Preservation Commission granted approval for these modifications.

Initially, developers anticipated completing the conversion by 2015. However, construction extended beyond this timeline due to several challenges: attaching a construction hoist to the landmarked facade risked damage, and elevator use was restricted because of ongoing office tenancy on lower floors and frequent public tours of the historic lobby. Renovations involved extensive interior restorations and alterations. Notably, two elevator shafts terminated at the 29th floor, providing additional living area for residents above. A private lobby was constructed exclusively for residents, featuring the relocation of the coffered ceiling from F.W. Woolworth's personal office on the 40th floor to the new entrance. Interior design was overseen by Thierry Despont and Eve Robinson, incorporating Miele appliances and bespoke cabinetry in each unit. Residents also gained access to private wine cellar storage and a restored basement pool. The 29th floor was repurposed as an amenity space named the "Gilbert Lounge" in honor of the building's architect, while a fitness center occupies the 30th floor.

In August 2014, Alchemy's proposal to market 34 condominiums at the newly branded Woolworth Tower Residences for a total of $443.7 million received approval from the New York Attorney General's office. Following a soft launch in late 2014, units were officially listed for sale by mid-2015. Initially, Alchemy intended to manage sales internally and appointed a director from Corcoran Sunshine to lead this effort. However, amid reports of sluggish sales, this director departed at the end of 2015 for Extell Development Company. Subsequently, Sotheby's International Realty was engaged to handle marketing activities.

The building's penthouse, known as "The Pinnacle," was listed with an asking price of $110 million—the highest ever for an apartment in downtown Manhattan at that time. Had it sold at this figure, it would have surpassed previous records including Ralph Thomas Walker's Walker Tower penthouse at $50.9 million and Michael Dell’s record $100.5 million penthouse purchase at Extell’s One57 in 2014. Ultimately, in 2023, the penthouse sold for $30 million.

Post-conversion

In 2015, The Blackstone Group extended a $320 million loan secured by the office segment of the building to refinance the Bank of America loan that was set to mature from 2005. In June 2016, United Overseas Bank from Singapore issued a $220 million construction loan (equivalent to approximately $Template:Format price adjusted for inflation) to support the residential conversion project. Due to setbacks, the renovation was projected to conclude around February or March 2019, roughly six and a half years after Alchemy acquired the property. By early 2019, only three out of the 31 condominiums had been sold, as developers maintained original pricing despite an oversupply of luxury apartments in New York City. Consequently, the penthouse unit remained unoccupied with its asking price lowered to $79 million.

By 2021, Alchemy had successfully sold 22 condos, including to buyers such as entrepreneur Rudra Pandey. At that time, 84 firms occupied 92% of the building's office space, with four tenants collectively leasing 40% of the total floor area. The office portion underwent another refinancing in 2025, securing a $279 million loan from Blackstone.

Initial occupants

Photograph of the tower from the east

View from the east

Upon the building’s completion, the F. W. Woolworth Company utilized only one and a half floors. Nevertheless, as the proprietor, Woolworth Company generated revenue by leasing space to other entities. Due to its prime position in Lower Manhattan and direct access to two subway stations, the Woolworth Building maintained near-full occupancy consistently. At its opening, the Irving Trust Company occupied the first four floors, featuring a spacious banking hall on the second floor reachable via an elegant lobby staircase, vaults located in the basement, offices on the third-floor mezzanine, and a boardroom on the fourth floor. In 1931, Irving Trust moved its general, out-of-town, and international offices out of the Woolworth Building after establishing its own headquarters at 1 Wall Street. Columbia Records was among the initial tenants and operated a recording studio within the skyscraper. The studio is notable for recording what are regarded as the earliest jazz tracks by the Original Dixieland Jass Band in 1917.

Shortly after opening, multiple railroad companies leased space within the building. The Union Pacific Railroad and Delaware, Lackawanna and Western Railroad utilized retail areas on the ground floor for ticket offices. Additional railroad companies leasing office space included Alton Railroad on the 13th floor; Chicago, Milwaukee, St. Paul and Pacific Railroad (Milwaukee Road) on the 14th; Canadian Pacific Railway, Great Northern Railway, and New York Central Railroad on the 15th; Chicago, Rock Island and Pacific Railroad on the 17th; Chicago and North Western Transportation Company on the 19th; as well as Canadian Northern Railway; Los Angeles and Salt Lake Railroad; Pennsylvania Railroad; Atlanta, Birmingham and Atlantic Railway; Kansas City Southern Railway; and Denver and Rio Grande Western Railroad.

Beginning in 1914, inventor Nikola Tesla maintained an office in the Woolworth Building but was evicted within a year due to unpaid rent. Scientific American established offices there in 1915 before relocating to Midtown Manhattan in 1926. The Marconi Wireless Telegraph Company of America was present at the time of opening as well and leased the southern portion of the building’s eighteenth floor after signing a lease in January of 1913. Other early occupants included headquarters for the American Hardware Manufacturers Association and Simmons-Boardman Publishing; offices for the American Association of Foreign Language Newspapers; Colt's Manufacturing Company; Remington Arms; Taft-Peirce Manufacturing Company; and Hudson Motor Car Company.

Later 20th century

By the 1920s, the premises accommodated companies such as Newport News Shipbuilding and Nestlé. In the 1930s, prosecutor Thomas E. Dewey operated his offices here while conducting investigations into racketeering and organized crime in Manhattan. His office occupied the entire fourteenth floor and was secured with significant police protection. The building also became home to the regional offices of the National Labor Relations Board in 1937, shortly after its establishment in 1935. During World War II, the Kellex Corporation, involved in the Manhattan Project for nuclear weapons development, was headquartered here.

In the early 1960s, public relations specialist Howard J. Rubenstein established an office within the building. By 1975, the city had entered into a lease agreement for state judge Jacob D. Fuchsberg's offices located in the Woolworth Building.

Higher education

The Woolworth Building has maintained a significant connection to higher education, hosting several Fordham University divisions during the early twentieth century. In 1916, Fordham inaugurated "Fordham Downtown" within this building by relocating both the Fordham Graduate School of Social Service#School of Sociology and Social Service and the Fordham University School of Law to its premises. That same year saw the establishment of the Fordham Graduate School of Arts and Sciences, founded on the twenty-eighth floor, followed shortly by a Teachers' College on the seventh floor. The Gabelli School of Business, initially known as the School of Accounting, was launched on the seventh floor in September 1920. By 1929, these programs collectively enrolled over three thousand students at this location. Between 1916 and 1943, various Fordham entities occupied space here at different intervals, including the Fordham College (Manhattan Division), a summer school program, and a brief-lived School of Irish Studies. Due to diminished enrollment during World War II, in 1943 the Graduate School transferred to Keating Hall on Fordham's Rose Hill campus in Fordham, Bronx, while other schools moved to nearby premises at 302 Broadway.

In 2002, the New York University New York University School of Professional Studies#Center for Global Affairs secured a lease for 94,000 square feet (8,700 m²) spanning the second through fourth floors from FrontLine Capital Group, a now-defunct dot-com company. Additionally, the headquarters of the American Institute of Graphic Arts relocated to this iconic structure.

21st-century tenants

By the early 2000s, the Woolworth Building housed a variety of technology-related companies. Digital advertising company Xceed operated its headquarters across four floors, totaling approximately 65,000 square feet (6,000 m²), while Organic, Inc. occupied around 112,000 square feet (10,400 m²). The advertising firm Fallon Worldwide utilized two floors within the building. Amid the collapse of the Dot-com bubble in April 2001, Xceed ended its lease to relocate to smaller offices in the Starrett–Lehigh Building. Following the destruction of the U.S. Securities and Exchange Commission’s (SEC) Northeast Regional Office at 7 World Trade Center during the September 11 attacks, the SEC relocated its 334 staff members into approximately 140,000 square feet (13,000 m²) spread over five floors in the Woolworth Building. The SEC vacated this space in early 2005 to move to a larger office at Brookfield Place. Subsequently, on November 1, 2005, the General Services Administration assumed control of this area for offices accommodating roughly 200 employees from the Administrative Office of the United States Courts and U.S. Probation and Pretrial Services System. After renovations at the historic Thurgood Marshall United States Courthouse concluded in late October 2017, these offices relocated to newly available space within the nearby Daniel Patrick Moynihan United States Courthouse.

In April 2002, the New York City Police Department pension fund signed a lease for about 56,000 square feet (5,200 m²) on the building’s 19th and 25th floors. This lease was renewed for an additional two decades in October 2010. A Starbucks café spanning roughly 1,500 square feet (140 m²) opened on the ground floor during spring of 2003. In 2006, following a second bankruptcy filing, Levitz Furniture relocated its headquarters from Woodbury on Long Island to the Woolworth Building’s 23rd floor. That same year, design company Control Group Inc. leased an entire floor.

As of As of 2010, leasing responsibilities for the Woolworth Building were managed by the Lawrence Group. In May of 2013, SHoP Architects established its headquarters by occupying all of the building’s eleventh floor with approximately 30,500 square feet (2,830 m²) of space. The New York City Law Department leased the entire fifth floor—about 32,000 square feet (3,000 m²)—in February 2016 for its tort division. June of that year saw fashion label Altuzarra secure space on the fourteenth floor under its eponymous brand. In November of 2017, the Watson Foundation signed a lease to move into the twenty-seventh floor. That same year brought the relocation of the New York Shipping Exchange to the twenty-first floor. By May of 2018, architecture and design firm CallisonRTKL had leased all 28,100 square feet (2,610 m²) of the sixteenth floor. A few months later in late 2018, the Vera Institute of Justice vacated its twelfth-floor offices for a larger facility located in Industry City, Brooklyn.

By As of 2021, New York University was recognized as the building’s principal tenant. Other major occupants included New York City government agencies, the NYPD Pension Fund, and SHoP Architects.

Reception and design influence

lithograph of the Woolworth Building by Rachael Robinson Elmer

Woolworth Building June Night, 1916 lithograph by Rachael Robinson Elmer, National Gallery of Art

Prior to the start of construction, Woolworth engaged New York-based photographer Irving Underhill to capture images of the building’s development. These photographs were circulated throughout Woolworth's retail outlets across the country to build excitement about the project. Throughout the erection phase, Underhill, along with the Wurts Brothers and Tebbs-Hymans, documented the structure’s progress through photography. Their shots varied from close-up details to distant perspectives that highlighted the building’s contrast with its urban surroundings. These images formed part of a broader media campaign promoting the Woolworth Building. However, both contemporaries and later commentators often dismissed these photographs as either "conventional approaches" or mere "architectural eye candy".

In subsequent years, the building received considerable acclaim. In 1978, Amei Wallach of Newsday described it as "a colossal cathedral humorously distorted by a funhouse mirror," adding that its lobby "evokes a farmboy’s vision of grandeur". An article in The Baltimore Sun from 1984 noted that the combination of lighting, ceiling mosaics, and gold-leaf ornamentation created an ambiance reminiscent of a church, while the grotesques introduced a playful irreverence. Richard Berenholtz, in his 1988 work Manhattan Architecture, observed that Gilbert effectively blended traditional architectural and decorative elements with contemporary technology in this building. Mary N. Woods, writing in 2001 about Cass Gilbert, highlighted how the Woolworth Building’s enduring legacy "amplifies [Gilbert’s] achievement". In 2005, Dirk Stichweh likened the structure to "the Mozart of skyscrapers". The building was ranked 44th on the American Institute of Architects’ 2007 list of America’s Favorite Architecture.

To honor Gilbert’s architectural contribution, the Society of Arts and Sciences awarded him their gold medal in 1930, recognizing the Woolworth Building as an "epochal milestone in architectural history". Marking four decades since its inauguration in 1953, one publication described the building as "a dignified middle-aged lady with steady income, indifferent to passing years—and surrounded by many admirers". Additionally, a one-third scale version inspired by the Woolworth Building—the Lincoln American Tower in Memphis, Tennessee—was constructed in 1924.

Media

The Woolworth Building has significantly influenced architectural circles and has been prominently showcased across various popular culture mediums, including photography, prints, cinema, and written works. Among the earliest cinematic portrayals of the skyscraper is Manhatta (1921), a brief documentary directed by artist Charles Sheeler alongside photographer Paul Strand. Following this, the structure has appeared in numerous films in cameo roles, including the 1929 production Applause. It has also served as the backdrop for pivotal film climaxes, such as in Enchanted (2007), as well as housing key organizations in movies like Fantastic Beasts and Where to Find Them (2016). The television series Ugly Betty used the Woolworth Building as the location for 'Meade Publications,' a central setting throughout the show, while a vacant condominium within the building was utilized during filming of the TV series Succession in 2021. The Woolworth Building has also been referenced in literary works, including Langston Hughes's 1926 poem "Negro" and the novel Peak published in 2007.

See also

• Early skyscrapers
• List of Woolworth buildings
• List of tallest buildings in the United States
• List of National Historic Landmarks in New York City
• List of New York City Designated Landmarks in Manhattan below 14th Street
• National Register of Historic Places listings in Manhattan below 14th Street

Sources

• Template:Cite nysky
• Template:Sfn whitelistTemplate:Cite Elegant New York

External links

• Official website

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